Well dammit if Ryan Murphy was right: I did cry during this episode. Several times, in fact. He managed to take a show that deals with horrors both real and otherworldly, lives that shatter and try and piece back together, blood, gore, and then some, and made me truly care, by the end of this anthology.

I’m gonna wax a little about the Show’s obsession with pregnancy. I’m not sure if this is a purposeful theme, but I’m curious if the trend will continue in the seasons to come. I’d also like to follow the roots of a baby conceived of good over evil. Granted, the show is called American Horror Story, but I’d still like to hold out hope that some good can also win out.

Dear Mr. Murphy: Although I know that Friday is typically where shows go to die, could you possibly consider moving your show to that night? Just so that I don’t look like death at work on Thursday mornings, due to lack of sleep, due to AHS scaring the &$%@^! out of me every Wednesday night.

I remember how much Anne Frank’s diary spoke to me in school, how I identified with her as a girl, how I ached for her and her family. That she was also played by Franka Potente, who will always be Lola to me, was just icing on the cake.

On the heels of Hurricane Sandy it was interesting to watch this episode, as it centered around an impending storm and the onset of cabin fever, propelled by the infiltration of Satan, embodying the once innocent Sister Mary Eunice.

It’s interesting that the Show this season is a sign of times that spotlights not only the awkward cohabitation of science and religion, but also a bigotry that was accepted as much then as it is shunned now.

I wasn’t getting the same sense of creep that I did with the advertisements of Season 1. Maybe because it feels familiar and this year’s Rubber Man is All White Nun with Black Melting Eyes. I also think perhaps my reservation is that once you break barriers on a show, can you do it again without being rote.